Shailene Woodley Quotes

I felt like I haven't had the typical experience of a novelist whose book becomes a movie.

I feel proud I was part of the old school and still around in the new school.

As soon as we are shown the existence of something old in a new thing, we are pacified.

When I write something, I want the best director to direct it. And that's not going to be me. So when David Fincher comes along and wants to direct 'The Social Network,' when Bennett Miller comes along and wants to direct 'Moneyball,' or when Danny Boyle wants to direct 'Jobs'? Hallelujah. I want them directing it.

You always need a certain amount of time to fully adjust; it was no different when I moved to the Bundesliga.

I think everything you do, whether it's low budget things when you're first starting out or full feature films or when you're working with Hollywood, you're always learning, all the time.

When a company makes a fundamental change, it is inevitable that some people will leave.

I try to always work with the same hair and makeup people, so they're my friends, and that makes the process so much more fun.

Of course you learn from certain moments, and you always get more and more experience, so maybe in the future you will do some different things, but in general, the basics always stay the same.

It was really fun to work on 'The Predator.'

There is so much that I love about all aspects of making a film or a TV show.

Going to Charlotte and being there two years, I missed L.A., but it was good for me.

People think of travel, of movement, as a kind of reprieve from life. But they're wrong. Movement isn't a reprieve. There is no reprieve. Movement is our permanent state.

We only really know what is new, what suddenly introduces to our sensibility a change of tone which strikes us, that for which habit has not yet substituted its pale fac-similes.

The real truth - like anything, you have an idea about something you might write and it changes. People reflect on it or you get other ideas and maybe your original idea is radically different than how it ends up being. It's not a theorem. You don't sit down and prove something. You start with an initial idea and it grows and grows. The math of the narrative changes. In some ways your original document and what the film ends up being are quite different.

Everybody is changing.

Everything in life is unusual until you get accustomed to it -The Scarecrow - The Marvellous Land Of Oz by L. Frank Baum pg 103 chapter 13

You sit and you read that, and you have to imagine turning it into a film that people are going to sit and watch. And you have an awful lot of input from a lot of other people. That's the way I work.

I think continuity is a good thing. But change is sometimes good, too.

The dialectic between change and continuity is a painful but deeply instructive one, in personal life as in the life of a people.To "see the light" too often has meant rejecting the treasures found in darkness.

I tend not to think that anything I happen to be reporting on in my films is special. Meaning that people are always saying to me, 'you must love New York, you have it in all your films.' But mostly it's because I know New York, and I know Brooklyn at this time. I know the lives there, because I have lived in them.

Nothing is forever, but there's a continuing stream of people who go through our lives and continue with us... Nothing just stops and stays... But it flows on... Like a river.

It is, of course, a trite observation to say that we live "in a period of transition." Many people have said this at many times. Adam may well have made the remark to Eve on leaving the Garden of Eden.

I'm one of the school of people who don't do research of the reality of the thing or the unreality of the thing. In all the movies I've done, I've never done any research.

There is this old thing that a lot of people say - that the worst experiences make the best films. I don't subscribe to it. But I've seen it happen.